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Smeagol

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About Smeagol

  • Birthday 24/10/1985

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    http://www.derlisgonzalez.com

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    Toronto, ON - Canada

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  1. Extremely excited about Batman. I got the Edward Scissorhands one as soon as it came out and couldn't be happier.
  2. Finally caught up and ready for Sunday!
  3. (Ah, somebody already posted the Desplat one) http://www.justjared.com/photo-gallery/2880920/matt-damon-george-clooney-get-to-work-on-monuments-men-06/
  4. Absolutely. And innovators like the ones Blumenkohl talks about are out there, but I think expecting that from film music may be a bit on the unrealistic side.
  5. Interesting. To me the debate is simply about originality/innovation vs. authenticity. Two things to keep in mind though: 1. Williams doesn't work on his own when doing film music, he has to follow directions and serve the picture. He can't just go and do something that hasn't been done before just to be "innovative." What he could do, and he did better then most out there, is create a unique voice, an "authentic" voice for himself and his work. To me that's more important. 2. If innovation is what you're looking for, if you want to hear sounds in combinations you've never hear before, there's plenty in the contemporary concert music world to satisfy those needs. But don't be surprised if not much of it is good. I think originality and authenticity are highly overrated, at least in the music world. It's very easy to write a piece of music unlike anyone has ever done before (especially with what you can get away with in the modern concert music world), but will it be good? I think working within a certain framework, like the traditions of western orchestral music, and still manage to create music that engages and has a defined identity is much harder to do. You want to hear innovation? A piece of music the likes none of you has ever heard before? That's very easy. I'll write a piece that will involve a big pot made out of copper, a live chicken, boiling water and a metal hammer. On stage I'll fill the pot with water, throw the chicken inside, cover the pot and then bring the water to a boil (while the chicken is alive inside, of course) and I'll hit the pot with the metal hammer. Once the chicken is dead, the piece ends. I'll call it: "Prelude for Boiling Chicken and Hammer" There. A completely unheard of, original piece of music. I can guarantee none of you has heard a sound like that ever before. I am an innovator. But would you really pay to hear that music though? Exactly. Originality is overrated. Authenticity is king.
  6. That could be it. When the score wasn't there, it was quite obvious. I was thinking more about the dramatic impact (not that the scene isn't dramatic on its own, it just seemed like an odd place to decide not to have music). I kept waiting for some epic fighting music to happen. Don't get me wrong, I'm not saying that the scene isn't good or effective because it didn't have music, but I don't think what you're saying is the reason. I mean, Nolan did the exact same thing during the Harvey/Joker chase scene in TDK, where most (if not all, I can't remember right now) of that sequence had no score. Again, it just seemed like an odd decision. Is there a similar sequence in BB, where something important is happening but there's no music? I can't remember.
  7. Was anyone else bothered by the fact that there was no music during Batman and Bane's first fight? That was the one thing that took me out of the movie.
  8. So many good things I hadn't head before! Thank you!I've updated the list and I remembered one more that nobody mentioned yet:
  9. Oh man... this is so, so great. Thank you so much everybody! I'm very excited about this, as a lot of the suggestions you've made, I had no knowledge of. Great stuff. I updated my first post with all of the suggestions so far, in case anyone wants to check what has already been suggested. Hopefully, the longer the list gets, the more obscure/rare the suggestions will be (which is kinda where I want to get at). Oh, and again, it doesn't matter if the music you suggest doesn't necessarily represent a romantic relationship on film. I just want to hear whatever you guys like that you consider a "love theme." Keep 'em coming!
  10. Hello everyone, I'll be scoring a feature film later this year that starts filming in April. It's a fairly high-profile project that will star a number of well-known Argentinian actors. Part of the story involves a tragic romance between two of the main characters. It'll be a great opportunity to write a great, tragic love theme, and I was wondering if I could ask you guys to list pieces of music that you consider fall into the category. They don't have to be tragic. Hell, they don't even have to be "love themes" necessarily. I just need suggestions of what you guys really like that you feel qualifies as a love theme. I know that sounds a bit vague, but I just thought it'd be a good idea (since I don't get to write a note for that film until about June) to make a playlist of love themes and start listening to as much music as possible for inspiration, a bit of research (I'm looking to also study these "love themes" for instrumentation, things like that) and just for fun. I know there are tons of gems out there that I haven't heard yet. They can be from any era, any type of movie, any composer. You could even suggest classical music pieces. I'll update this first post with a list of the suggestions at least once a day. It'd be great if you can attach a Youtube link to your suggestions, but it's not necessary. Movie/Composer/Track Name should be enough. Thanks in advance! Updated Suggestions List - Yoda's Theme - Williams - ESB - You can't sit here - Silvestri - Forrest Gump - This is neverland - Kaczmareck - Finding Neverland - Star Trek The Motion Picture: Jerry Goldsmith: Ilia's Theme - Star Trek Shore Leave: Gerald Fried: Ruth. - Across The Stars - Williams - EP II - Han Solo and the Princess - Williams - ESB - Jake and Shirley - Goldsmith - The Sand Pebbles - A Meal and a Bath - Goldsmith - Medicine Man - The Barn/Love Theme - Rózsa - El Cid - Twilight Cellos - Kilar - Portrait of a Lady - Moment of happiness - C. Beck - Buffy - Love Theme - John Morris - Spaceballs - Michael & Stevie's Love Theme - Don Peake - Knight Rider - Love Theme - G. Revell - The Saint - Marion's Theme (Raiders) - Han solo and the Princess(TESB) - Princess Leia's Theme (Star Wars) - Daniel and Shauri (Stargate) - Colwyin and Lyssa (Krull) - Jenny (The Rocketeer) - Maid Marian (Robin hood Prince of Thieves) - Carol Ann's Theme ( Poltergeist) - End of the City (Logan's Run) - Alone at Night (Benjamen Button) - Aerith's Theme (Final Fantasy) - Tifa's Theme (Final Fantasy) - Love in the Morning (Morricone,Lolita) - Friendship and Love (Once Upon a Time in America) - Parting Sorrows (Let Me In) - Love theme from Clash of the Titans (Rosenthal) - Aerith's Theme - Final Fantasy - Tifa's Theme - Final Fantasy - Love Theme - Final Fantasy IV - Love Theme - Morricone - Cinema Paradiso - La Califfa - Morricone - La Califfa - Days of Heaven - Morricone - Days of Heaven Once upon a time in the West - Morricone - Fateless - Morricone - Malena - Morricone - Malena - Deborah's Theme - Morricone - Once upon a time in America - Can You Read My Mind? - Williams - Superman - The Wedding Night - P. Doyle - Frankenstein - Love Theme - V. Young - Left Hand of God - Balcony Scene - C. Armstrong - Romeo+Juliet - If we were in Love - Williams - Yes, Giorgio - Whisper of a Thrill - T. Newman - Meet Joe Black - Someone Else - T. Newman - Meet Joe Black - The Diver - T.Newman - How to Make an American Quilt - Rowena - M. Kamen - Mr. Holland's Opus - Love Theme - Goldsmith - The Russia House - Tara's Theme - M. Steiner - Gone With the Wind - Love Eternal - W. Kilar - Dracula - Love Theme - Rota - Romeo and Juliet - Love Theme - E. Bernstein - Far From Heaven - Love Theme - E. Bernstein - Love With The Proper Stranger - Marian's Theme - Andy Price - BBC's Robin Hood - Love Scene - Williams - Dracula - Love Theme - Rota - The Godfather - Luke and Leia - Williams - ROTJ - Ashitaka and San - J. Hisaishi - Princes Mononoke - The Wedding Night - P. Doyle - Frankenstein - Across the Stars - Willaims - AOTC - Maria - L. Bernstein - West Side Story - Lara's Theme - H. Mancini - Dr. Zhivago - Out of Africa - J. Barry - Out of Africa - Love Theme - Williams - Jane Eyre Last Updated: Sun, Feb 7, 2012
  11. He can't write good film music. In my case, it's not even that I don't like ambient/synth stuff, but Reznor can't even write good ambient scores. At least he hasn't in the two movies he's done so far. That's the problem, the guy can't write good film music. Personal tastes aside, he's simply not a good composer. I mean, I've had a really hard time connecting emotionally to Giacchino's scores. For some reason the guy's music just doesn't do it for me, but I will never say that he can't write music. I can't say the same about Reznor. He may be great with NIN, but writing music for movies, he fails.
  12. This is a great lineup! I'm happy about all the nominees. The Artist will win though. I'll be surprised if it doesn't. And no Reznor and Ross?
  13. I just found while browsing around on youtube. It's from a TV special about the making of Quantum of Solace. At the 4:25 mark in this video (Part 3 of 4 of this featurette) we get a couple of minutes of David Arnold talking about the score and playing around in his studio. It doesn't show anything too interesting, but I always like it when I find footage of composers in their studios/recording sessions. The quality isn't very good since the guy who uploaded it recorded it from his TV, but it's still kinda cool.
  14. I believe the very first scene was Plummer calling the police officer (the old investigator Craig interviews at some point) telling him that he got a new flower. It's pretty much exactly how the book starts. They did change a few things from the book that I don't think would have made a lot of sense if you hadn't read the book, or maybe in this case, since they had to trim almost an hour worth of movie (I believe Fincher's original cut was over three and a half hours). I'll get into some book spoilers from now on, so if you haven't read the books and are planning to, skip ahead! Indeed, the social worker thing plays a big, big part in the next two books so those things needed to be there. Craig reuniting with the Millenium owner would have worked better had they included more references to that aspect of the character. He actually sleeps around quite a lot during the book, including with one of the Vanger ladies while he's doing his research (Cecilia, if I remember correctly) as well as with Lisbeth and even Harriet (although I believe that doesn't happen until the second book). The whole angle to it is that Lisbeth, this character who doesn't really fit or connect with anybody, actually falls deeply for Blomkvist, but he kinda just doesn't care and sleeps with anybody who'll let him. Even the way they handled his affair with Erika Berger is kind of weird. They have this scene where they're all gathered up at Blomkvist's place, right before he gets the call from Vanger's lawyer, and you can see that Erika is there with her husband. The whole thing in the book is that Erika's husband actually knows that she sleeps with Blomkvist, but he's ok with it. The whole thing at the end with Lisbeth stealing Wennerstrom's money doesn't happen until the second book either, same with her telling Blomkvist that she tried to kill her father by setting him on fire. Maybe they did that in case they don't get to make a second movie? Also, I don't think Blomkvist figures out that Lisbeth is a hacker until the second book as well. END OF SPOILERS In terms of the flowers thing, I think there's a quick line of dialogue when Blomkvist figures out that Anita is actually Harriet when he says something like: "So it was you sending the flowers" or something like that. But you're right, they don't actually make a big deal out of explaining that, which makes it confusing.
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